The Tapestrys Ancient Biblical Scene - Essay Example

and Number of the Teacher’s ADORATION OF THE MAGI, ca 1476-88 by an Anonymous Brussels Weaver IntroductionThe fifteenth century tapestry showing the Adoration of the Magi (Figure 1), a scene in the manger where Christ was born “was designed to hang across the front of the altar of the earliest of the great French Gothic cathedrals in Saint-Etienne in Sens” (Sayre 658) in France. The tapestry was commissioned by a French cardinal in 1476, whose red cardinal’s hat and coat of arms mark the four corners of the tapestry (Sayre 658).

The image depicts an ancient Biblical scene where three Wise Men from the east carrying gifts pay their respects to the infant Jesus in the arms of Mother Mary. Thesis Statement: The tapestry design Adoration of the Magi by an anonymous Brussels weaver in ca.1476-88 (Figure 1) will be examined, in order to explain the ways in which the values and style of this image reflect the values and style of the Renaissance in the North. Figure 1. Adoration of the Magi by an Anonymous Brussels Weaver, ca 1476-88 (Sayre 657) Similarity of ‘Adoration of the Magi’ to Art of the Northern Renaissance The artistic concepts and styles that emerged in Italy during the fifteenth and sixteenth centuries fuelled extensive changes in the cultural life of Northern European countries (Cunningham & Reich 325).

The traditional religious doctrines and conservative intellectual values of the Medieval era gave way to the introduction of humanism in Northern Europe, thereby producing a new breadth of vision. The values of humanism such as love and respect are evident in the expressions of all the figures in the scene. Moreover, one of the main characteristics of northern Renaissance art was its emphasis on individualism (Cunningham & Reich 325). In the selected tapestry, the traditional nativity scene portrayed has been created in various styles by numerous artists.

However, this tapestry reveals individualism in its choice of fusing the foreground with the outdoor landscape in the background. Another core element of Northern Renaissance art was the focus on the foreground of the composition, as reflected in the tapestry image. Moreover, each figure is shown in action, including the Baby Jesus, giving an effect of dynamic movement and animation to the scene. Two of the Wise Men kneel in respect, while the third stands with head bowed. Thus, the poses and facial expressions of the Magi powerfully speak of their adoration for the new prophet.

Similarly, the others are also shown to be actively engaged in this event, emphasized by two faces peering in through the window at the back. The northern Europeans painted precisely realistic art works. This style is evident in the realistic faces of the figures and exactness of details in the image. This tapestry reveals how close Flemish painting, and tapestry in the 15th century were in the context of their design and close attention to details. Key focal points to the scene are defined by the luminous appearance of surfaces illuminated by lighting. Sayre (p.658) reiterates that the use of gilt-metal wrapped thread, silver and silk yarns helped in creating the luminosity, and the three-dimensional effect of the image.

Flemish artists and other Northern Renaissance painters perfected the use of the oil medium to depict the world in meticulous detail. They used blended colors, light and shade and “atmospheric perspective or increasingly hazy appearance of objects furthest from the viewer, to suggest depth” (Strickland & Boswell 40) to create three-dimensional effects. Similarly, in the Adoration of the Magi, far into the horizon, hills, greenery and houses are hazily visible, while the middle ground with grass, paths and trees is moderately defined, and all the elements in the foreground are clearly depicted.

Due to Italian influence, topics of classical antiquityemerged from the fourteenth century. The Scriptural concept in the tapestry composition reflects the orientation towards topics of ancient origin. On the other hand, Strickland and Boswell (p.40) argue that “while the Italians looked to classical antiquity for inspiration, northern Europeans looked to nature” as in nature’s beauty in the tapestry’s background. Conclusion The tapestry design Adoration of the Magi by Anonymous, ca 1476-88, was examined for similarities in values and style with Northern Renaissance art.

The evidence indicates that core similarities in the values of humanism and individualism exist. Similarly, the tapestry’s composition reflects the Northern Renaissance styles of minute and realistic detailing, three-dimensional effects with a focus on the foreground, luminous surfaces, and classical antiquity comparable to the tapestry’s ancient Biblical scene. ------------------------------ Works Cited Cunningham, Lawrence S. & Reich, John J. Culture & values, Volume II: A survey of the humanities with readings.

Edition 7. Boston: Cengage Learning. (2009). Strickland, Carol & Boswell, John. The annotated Mona Lisa: A crash course in Art History from prehistoric to post-modern. Edition 2. The United States of America: Andrews McMeel Publishing. (2007).